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Double Indemnity
Crime, Drama, Thriller, Film-Noir
IMDB rating:
Billy Wilder
Fred MacMurray as Walter Neff
Barbara Stanwyck as Phyllis Dietrichson
Edward G. Robinson as Barton Keyes
Porter Hall as Mr. Jackson
Jean Heather as Lola Dietrichson
Tom Powers as Mr. Dietrichson
Byron Barr as Nino Zachetti
Richard Gaines as Edward S. Norton, Jr.
Fortunio Bonanova as Sam Garlopis
John Philliber as Joe Peters
George Anderson as Warden at Execution (scenes deleted)
Al Bridge as Execution Chamber Guard (scenes deleted)
Edward Hearn as Warden's Secretary (scenes deleted)
Boyd Irwin as First Doctor at Execution (scenes deleted)
George Melford as Second Doctor at Execution (scenes deleted)
William O'Leary as Chaplain at Execution (scenes deleted)
Storyline: In 1938, Walter Neff, an experienced salesman of the Pacific All Risk Insurance Co., meets the seductive wife of one of his clients, Phyllis Dietrichson, and they have an affair. Phyllis proposes to kill her husband to receive the proceeds of an accident insurance policy and Walter devises a scheme to receive twice the amount based on a double indemnity clause. When Mr. Dietrichson is found dead on a train-track, the police accept the determination of accidental death. However, the insurance analyst and Walter's best friend Barton Keyes does not buy the story and suspects that Phyllis has murdered her husband with the help of another man.
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Static acting with an OK storyline.
Perhaps I have just watched my share of black and white movies that I can't really take them anymore. Or maybe the narrative was just that awful. Either way, I found this film pretty shallow to watch, though it was engaging at some parts, it otherwise felt like it was stalling along. (Also, my view probably reflects the generation I'm born in)

I am pretty annoyed by Walter's narration. The film is narrated by him as he recounts the events of the past few weeks. I think I feel annoyed by his narration because his voice sounds so matter of fact and emotionless that it makes me not want to listen to him. MacMurray's acting too is quite static, matching well with his voice to produce a static and emotionless character. Stanwyck isn't much better, but does show that there is a little more depth to her character than is perceived. Robinson and Heather as supporting actors do their part well enough.

The character of Phyllis, being the main female character in the film, can also be perceived as the film being misogynistic. First, she is introduced by objectification of her legs, and becoming the source of romantic interest to Walter. Then, she is depicted as the damsel in distress, needing to be saved from her terrible marriage. Then by the end she is seen as this chaotic, destructive woman. All of which are stereotypes of femininity, with the last seen as a punishment to women who resist the patriarchal order.

The use of camera work and lighting plays a crucial part in the film, and does give the sense of Expressionism. With the dark matter at hand and dark mise-en-scene, it adds to the mood of the theme. However the editing style, to me, makes the film quite hectic and all over the place. It jumps from the present to the past without a strong coherent flow, and that is probably why I lost interest in the film. I imagined the film to be over multiple times until it eventually did end.

However, the script was pretty engaging, with the conversations between Walter and Phyllis pretty entertaining. The flirtations between them are blatantly obvious and the metaphors used are a little cringe-worthy, but which made it fun to laugh at.

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"Noir" by Any Other Name...
This film hits the screen like a well trained Olympic runner with comfortable shoes who can feel the gold around his neck before his heels are even in the blocks. It's what they call `film noir,' because from the opening frames you know that the guy doing the talking is looking at a no-win situation, that he's going to lose and lose big. Oh, sure, he knows it now; everything you're about to see has already happened, his goose has already been cooked, and now he's going to tell you about it, let you in on what went down, how it went south and why. He'll even give you the heads up on the irony of the whole thing right out of the chute, how like our Olympic runner he could feel the gold in his hand before the ink on the insurance paper was even dry-- yeah, that's right it was an insurance scam, see, and a good one too-- all the bases were covered and checked for chinks, but in the end-- and here's where the irony comes in-- in the end, he didn't get the money and he didn't even get the girl who put the whole thing in motion.

`Double Indemnity,' a classic `noir' thriller in anybody's book, was directed by Billy Wilder, a guy who knows all the ins and outs, ups and downs and double shuffles of the business better than a short jockey on a tall horse. He's the `go to' guy in a game like this, because he knows all the angles, he knows the lingo and more than that, he has the insights to make it play out like it was the real deal; this guy knows what makes people tick, what motivates them and it's an ace up his sleeve that he plays like a trump card when the chips are down or even if a stack or two looks like they're about to go over. He knows the whole layout, from top to bottom and side to side because he wrote the script along with another guy you might have heard about, Raymond Chandler, another member of the club who just happens to know his way around the block and back again. This is a guy who doesn't need a road map to tell him which way to go; he's the guy who `invented' the map. And when a couple of the boys like Wilder and Chandler get together to make it up and put it down, it's as good as in the can, especially when they're getting the skinny in the first place from James M. Cain, who it just so happens wrote the novel this movie's based on. Besides which, they got the names Fred MacMurray and Barbara Stanwyck down on the dotted lines, the ones that count, the ones that say they're the ones who are the stars of the picture, see? Let's face it, that's like having Ruth, Mantle and Mays in the outfield at the same time with Sandy Koufax on the mound and Don Drysdale warming up behind him in the bull pen. The opposition might as well climb back on the bus and take the long ride on the short pier, because Wilder's team already has the big `W' next to their name in the box score.

Like I said before, and I'm going to say it again because if there's one thing I've learned during my time on the planet it's that sometimes people just don't listen, or maybe there's some things they just don't want to hear. But like I was saying, this story's about an insurance scam, a dirty deal that all starts when Mr. Walter Neff (MacMurray), a salesman with a head a couple of sizes too big for his hat, makes a house call and runs into a dame, and not just any dame; her name is Phyllis Dietrichson (Stanwyck), a woman with the kind of beauty that stops traffic, turns heads and makes monkeys out of guys like Neff, guys that think they got it knocked when all the time they're standing in quicksand and don't even know it till they're in up to their ears and gasping for that last breath. But that's the name of the game; Neff isn't the first guy to find his tiller on the wrong side of the mule because of a pretty face, moist lips and the sweet smell of perfume that sells it all like the siren's song, and he won't be the last to have the deal closed by promises of something that never will be and never has been, though it's victims are heaped along the side of the carefree highway like mounds of bark dust just waiting to be spread or lost in the wind.

Maybe that's not a pretty picture, but everything can't be a glossy print on Kodak paper, and you can take that to the bank because history's full of stories like this. Let's face it, Monet didn't have good eyesight, Van Gogh was down an ear and neither Mona nor her sister Lisa knew how to smile. And when a pair like Walter and Phyllis get together to cook a stew, there's always a Barton Keyes (Edward G. Robinson) waiting in the wings for them to screw up, take a wrong step or flash a tell that attracts a guy with a nose for fraud like a metal rod drawing lightening.

It takes some real `pros' to play the game at this level, and that's Wilder's team all right; but he needed some support to win this big, and he got it from the likes of Porter Hall (Mr. Jackson), Jean Heather (Lola), Tom Powers (Mr. Dietrichson) and Byron Barr (Nino). This film will give you the kind of ride a Six Flags park could only dream of, and that's what makes `Double Indemnity' one you're going to remember like a first kiss on a warm night in summer. 10/10.

It fits together like a watch
I've now seen this movie 14 times in 25 years, at all times of the year, in all moods, sober or not etc - but always at night. I recorded my copy off TV in 1987 so I can only imagine what a remaster would do for it. With an atmosphere thick enough to cut with a knife it never fails to engross and enchant me, and although it's been dated for 40 years or more still seems relevant and watchable today. TV, answer phones, recordable CD/DVD, memory sticks and the internet have all come between us and yet I can still watch Fred MacMurray speaking into a Dictaphone without a qualm. Who wears a hat in California nowadays? Who buys beer whilst driving! Lift attendants have gone but I can still believe in Charlie working and laughing away in the garage past 11 at night.

Woman and man agree to murder woman's husband but on the way to the cemetery they face grilling by insurance company. I think everything has been said before on the IMDb - by those who think it's one of the best films ever made! To those who simply think the main problem is that it's dated I wish you could see the TV commercials that dug into DI back in '87 - what a hoot - and compare. I've just noticed the print TCM UK is showing in 2005 is lip-synced out, very wobbly Rosza music track, fading and ageing fast - worse than my 1987 video tape (maybe logically). They're supposed to be encouraging people to enjoy the classics but they won't do that with such inferior screening copies. Dear TCM UK, this is an impressive iconic film - it deserves a billion dollar remaster authorised by the Library of Congress, not repeatedly trotting out unimpressive cheap worn dupes to fill those 2 hour slots.

Everything about DI from the acting, production, direction, and music is superbly dignified and is as "close to perfection" as human beings are probably allowed to get with this form of Art - especially with the more limited technology at their disposal in '44. When most films from now are long forgotten and dated DI will still be getting re-runs on TV and art-house cinemas - God and remasters willing - that is the fact of it.

Fortunia Bonanova certainly was fortunate to have appeared in bit parts in 2 of the best films ever made - Citizen Kane the other.
There's a speed limit in this state Mr. Neff...
One of the greatest movies of all time. This movie is brilliant in every sense of the word. Technically it plays with shadow as well as any movie ever. It is as dark a movie as can be made without the screen being totally black. The shadows cast by the venetian blinds are beautiful and terrifying. The story is of an insurance salesman(MacMurray) who is quite taken with a lonely housewife (Stanwyck). Together the two plan to do away with the husband of the woman by putting into motion what they both consider to be the perfect crime. It is nearly impossible to find better written dialog. The script crackles with funny one-liners and great plays-on-words. Innuendo has never been better. This is one of my all time favorite movies. The characters are unhappy and bitter people, as they should be in any great film noir. The movie is so simple and yet so complex , making it perfect. The best film noir ever and easily one of the best movies ever made.
Double Pleasure
This set the bar for film noir. Good story, acting superb, direction and memorable scenes with good dialog make this a ten. Add three strong stars and a committed cast and we are in the world of high level entertainment. They certainly don't make them like this anymore. I loved how you get the feel of what life was like back then captured so easily making us see the generation of its time and how they thought and acted. There is a scene where Walter tells Keyes to ask for matches when he buys his cigars because he is constantly lighting one for him. Keys responds, I don't like carrying them in my pocket because they go off. What many don't know is that the chemical needed to create the light was included on the tip thus striking it anywhere worked. Today, that chemical is separated from the match requiring a strike source. Who would know this unless it was explained? Other references to eating at a drugstore, catching a movie for the hell of it and living in an apartment that supplies car washes. Look for these and more as they are informative. Watch this with a sandwich, tasty drink and a favorite nibble snack. NO cell phones or bathroom runs. Pay attention and be entertained
One of the best films noir ever, Double Indemnity communicates with amazing effectiveness the depths of depravity, greed, lust, and betrayal of the seemingly innocent and beautiful.
This is one of the best films of all time, not necessarily because of its story but because of the acting, direction, cinematography, lighting, and just the way that the story itself was told. At the time the film was released, the idea of revealing who the killer was in the opening scene was virtually unheard of, but it ended up being very effective because it allowed the audience to concentrate more on other elements of the film, which was the goal of Billy Wilder, the director. Instead of trying to figure out who the perpetrator was, there is more emphasis on how the crime was pulled off, what mistakes were made during the murder, who betrayed who, how close Barton Keyes (the insurance investigator) was getting to solving the case, and, probably most importantly, what kind of person Walter Neff is and whether or not sympathy should be felt toward him.

Barbara Stanwyck, in one of the most remembered performances of her extensive career, represents (with nearly flawless ease) the cold and ruthless manipulator who has no difficulty in ruining other people's lives in various ways (including death, if necessary) in order to get what she wants. Known in the film community as the `femme fatale,' this is someone who uses her sexual prowess, seductiveness, and emotional detachment to drag an unsuspecting person (generally an interested man) into a scheme from which she is expected to benefit heavily and he is most likely headed for destruction. In these types of films, the man often either finds his life in ruins or ends up dead, as is often (but not always) also the case with the fate of the femme fatale.

Barbara Stanwyck (as Phyllis Dietrichson, the murderous femme fatale in Double Indemnity) and Fred MacMurray (as Walter Neff, her ‘victim'), have amazing chemistry on screen. Their attraction is incredibly well portrayed, and the development of their relationship with each other is so convincing that what happens between them almost seems normal. Besides that, their mutually calculated interaction, although it seems at first like it has been rehearsed endlessly and ultimately brought unconvincingly to the screen, is exactly as it was meant to be, because it represents each character's intentions, even very subtly foreshadowing their future betrayals against each other. Phyllis has gone through every word she ever says to Walter in her head. She has practiced what she wants to say when she brings up the idea of life insurance to Walter in the beginning and she knows what she wants to say whenever they interact with each other because she has been planning for quite some time the prospect of murdering her husband in order to collect his fortune. Walter, conversely, methodically makes amorous advances as though this is something that he does regularly, and then ultimately he also plans out his conversations with Phyllis because he begins to suspect her and is sure to tell her only what he wants her to hear. This seemingly stiff dialogue brilliantly represents Phyllis and Walter's precise (and sinister) intentions, and it's quick pace creates a feeling of urgency and restlessness.

Probably the most fascinating and entertaining actor in the film, Edward G. Robinson, plays Barton Keyes, Walter's friend and employer at the insurance company where he works. Keyes is a very suspicious man who closely investigates the insurance claims which come into the company, having a striking history of accurately isolating fraudulent claims and throwing them out. His handling of Phyllis's (and Walter's, technically) claim and the way that he gets closer and closer to the truth create a great atmosphere of tension and drama.

Double Indemnity is nearly flawless. From the shocking and unexpected beginning to the already known but still surprising end, the audience is held rapt by the excellent performances, the brilliant and imaginative direction, and the flawlessly created atmosphere. This is excellent, excellent filmmaking, and is a classic film that should not be missed.
Much closer than that, Walter
This is Billy Wilder's masterpiece. Though "Sunset Boulevard" is a great movie, it has a few script holes that "Double Indemnity" does not have. For example, in "Double Indemnity," Walter Neff admits at the beginning of the movie that he has killed a man. He does this by dictating into a machine. He then proceeds to tell how it happened. This could very likely take place in the real world. In "Sunset boulevard" a corpse is floating in a pool; the corpse begins through narration to tell how it ended up dead. This is a major flaw since dead people don't tell tales.

The only other film noir thriller that even comes close to capturing the essence of the genre is "Murder, My Sweet." The lines in that movie are almost as clever and memorable as the lines in "Double Indemnity." Interesting that the two were released the same year (1944), one based on a James M. Cain novel, the other on a Raymond Chandler novel. There are so many catchy lines in "Double Indemnity" that aid the viewer in understanding the inner workings and machinations of the characters that they fill almost the entire film. IMDb provides the best lines under "quotes." My favorite because it so defines the relationship between Neff and his boss Barton Keyes is toward the end when Neff stands before Keyes totally exposed. Neff states,"Know why you couldn't figure this one, Keyes? I'll tell ya. 'Cause the guy you were looking for was too close. Right across the desk from ya." Keyes knowingly replies, "Closer than that, Walter." The father, son relationship of the two men is now broken forever and the tragedy of the severed bond is apparent.

Everyone involved in this movie both before the camera and behind the camera give their inspired all to make this film one of the greatest in cinema history. True, it may rightfully be classified film noir, but the total picture transcends labeling. It is so much more than just the best film noir movie. The three leads could be no better. They play their parts perfectly. The much underrated Fred MacMurray who was so often relegated to minor features was a gifted actor. He stays on top of it all and truly equals the inspired performances of Barbara Stanwyck, the ultimate femme fatale, and Edward G. Robinson in his best role ever. Edward G. Robinson plays the penultimate insurance actuary. He knows the statistics inside and out. He can recognize a false claim almost immediately. Neff knew this but he let another part of his body rather than his brain do his thinking for him. He is completely blinded by love and lust. And what a name given him by Wilder, Walter Neff, so common it compares with the name Willy Loman for some of the same reasons. He is too weak to withstand the wily maneuvering of this cold, callous yet greedy woman, who knows how to shake that thing. He is doomed from the start. In the end everyone loses, even Keyes. He will never be the same man again. He cannot dismiss Neff the way he dismissed all the other frauds and fakes. A part of himself has been removed permanently.
Honeysuckle and murder
I teach critical viewing of film in high school and since this is the best film noir ever made, I showed it in the fall of 2005 to my classes, only to be met with universal hatred and scorn. Nothing about the film pleased and I was rather disheartened. Later in the year, however, several kids said that they think they probably couldn't appreciate it that early in the course and suggested that I save it for later in the year.

So, I showed it in spring of 2007 and got a completely different reaction! The kids loved it and several were rather bowled over by the use of light and shadow and how it contributed to the over-all tone of the film. I also had by this time a really good documentary to show with it that gave good insights into the making of the film which I think helped as well.

Anyway, my hope in the ultimate taste of the adolescent restored, this film will remain a late entry in my syllabus.
Great DVD Treatment of One of Billy Wilder's Greatest Films!
The super deluxe 2-disc DVD edition of the 1944 film noir classic DOUBLE INDEMNITY (DI) rocks! Director/co-screenwriter Billy Wilder's flair with suspense and black humor works so perfectly with James M. Cain's novel about adulterous lovers plotting to murder the woman's husband and scam the man's insurance company, that it even improves on the book (which I read years ago).

The dark tone and scandalous subject matter freaked out Hollywood so much that it took 9 years to get DI from the printed page to the big screen. Fred MacMurray was the only leading man in Hollywood with the guts to take the role of insurance salesman-turned-murderer Walter Neff, though even MacMurray needed convincing at first. None of the other in-demand male stars of the period wanted Barbara Stanwyck's conniving, money-loving, hubby-offing temptress Phyllis Dietrichson to make a chump out of him on screen. Their loss! (I'd first seen MacMurray when I was a kid. Back then, he was best known to my generation as a Disney movie star and the lovable dad of TV's MY THREE SONS, so it was quite a revelation to me when I saw him playing underhanded types in DI, THE APARTMENT, and THE CAINE MUTINY. MacMurray had more range than he got credit for!)

MacMurray and Stanwyck are dynamite in this, one of the most gleefully, unapologetically black-hearted films noir ever made. Their dialogue, especially in the first half of the movie, contains many of my fave movie lines of all time (if I start quoting them all, I'll pretty much be transcribing most of the script). The chemistry between Stanwyck and MacMurray blazes like the Chicago Fire as the wily, spellbinding Phyllis draws Walter into her web. As Richard Schickel points out in one of the DVD's 2 excellent audio commentaries, Stanwyck's Phyllis is always reacting in the moment, so you never can tell whether she means a word she says, making her all the more fascinating. What cynical Sam Spade says to the equally slippery Brigid O'Shaughnessy in THE MALTESE FALCON could also apply to the quicksilver Phyllis: she's good, awful good!

Edward G. Robinson is DI's crabby yet kind-hearted Voice of Reason in his portrayal of Barton Keyes, the Pacific All-Risk Insurance Company's ace Claims Manager. As Keyes, Robinson is irresistible, with his zeal for detail, the "little man" in his gut giving him indigestion every time an insurance claim seems fishy, and his gruff affection for Walter. Heck, at times, there's more tenderness between Walter and Keyes than there is between Walter and Phyllis! :-) IMO, the biggest crime in DI was the failure to nominate either of the male leads for an Oscar, especially scene-stealing Robinson, though the Academy was smart enough not to overlook the mesmerizing Stanwyck. (For that matter, Robinson was never nominated for an Oscar for any of his superb performances. He was eventually given one of those special career Oscars, or as we like to call them, the "Yikes, He's So Old He Could Croak Any Minute and He Still Hasn't Gotten An Oscar? *D-OH!*" award. :-)

DI boasts plenty of wonderful character bits, too -- really, there isn't a bum performance in the bunch! Our household's DI faves include Fortunio Bonanova as Garlopis, whose phony claim Keyes chews to bits "like a slice of rare roast beef;" and Porter Hall as Jackson from Medford, Oregon, the jovial train traveler who innocently throws a wrench into the murder plot when he turns up on the train's Observation Car while Walter pretends to be Phyllis' injured, crutch-bound hubby. (Speaking of the crutches, is the opening credit sequence with the silhouetted, fedora'd figure on crutches one of the coolest credit sequences of all time, or what?). Any fans of THE THING FROM ANOTHER WORLD who might be reading this shouldn't blink when Walter lets Lola (Jean Heather) into his office at one point, or you'll miss Douglas Spencer (with hair!) as Walter's associate, Lou Schwartz, coming out at the same time.

If you love the movie (and why wouldn't you? :-), you'll go gaga over the nifty commentary tracks and extras. Among other things, we learn about the censorship issues in bringing Cain's juicy, lurid tales to the big screen. For example, there were several European film versions of THE POSTMAN ALWAYS RINGS TWICE (including Luchino Visconti's OSSESSIONE, which works very well in its down-to-earth way and recently turned up on Turner Classic Movies) before Hollywood brought it to the big screen with John Garfield and Lana Turner in 1946. We're also told about how the different writing/working styles of Wilder and Raymond Chandler (who was hired to help adapt the story when Cain was under contract elsewhere and Wilder's then-collaborator Charles Brackett nixed the dark material) turned the experience into a collaboration made in hell. For the record, I wouldn't be surprised if Chandler was mostly to blame, since there are similar stories about him being just as tough to work with during Alfred Hitchcock's 1951 screen adaptation of Patricia Highsmith's STRANGERS ON A TRAIN. Hitch eventually brought in Ben Hecht's assistant Czenzi Ormonde to finish/polish the script when Chandler took a hike. Disc 2 contains the 1973 TV movie remake of DOUBLE INDEMNITY, which is worth watching if only to appreciate how much better the original is! This DVD set belongs in your collection!
Sort of accidentally, on purpose
I have not read the book or anything concerning the original case, and this is the only version that I've watched. If the novel is this spellbinding, I may have to get a copy. I suppose I should address something before I get into the review itself; yes, the story is quite similar to The Postman Always Rings Twice(and while this is superior, I would definitely suggest giving that one a whirl, too... the original, that is). It's the same author, and they aren't identical. They are also both somewhat reminiscent of Macbeth. Other than that I did not find myself falling in love with these leads(as I did in the Garfield/Turner one), I really cannot complain about this film(and I won't even attempt to argue against the immense chemistry that this duo has; they light the screen on fire). I have not seen a lot of Wilder's work, but I thoroughly enjoyed Some Like It Hot, as well. This is a classic piece of noir, and ought to get a viewing by every fan of such. The brilliant dialog and narration is full of metaphors, plays on words(and the like) and every line is carefully phrased, with several utterly unforgettable exchanges. Editing and cinematography are excellent. The lighting and use of shadows... incredible. This does an amazing job of building suspense and tension. The plot is well-written, and the twists are impeccable. Every acting performance is spot-on. The characters are credible and well-developed, and the women are allowed strong-willed moments. MacMurray is rather cool. There is a little racism and sexism(on account of when it was made), some innuendo and brief mild and not graphic violence in this. I recommend this to everyone into these movies. 10/10
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